| The first excerpt represents the past or something you must release, and is drawn from The Europeans by Henry James: "I believe he has some property; but that has nothing to do with it."
"With you, of course not; but with your father and sister it must have.
So, as I say, if this were settled, I should feel more at liberty. "
"More at liberty?" Gertrude repeated. "Please unfasten the boat."
Felix untwisted the rope and stood holding it.
"I should be able to say things to you that I can't
give myself the pleasure of saying now," he went on.
"I could tell you how much I admire you, without seeming
to pretend to that which I have no right to pretend to.
I should make violent love to you," he added, laughing, "if I
thought you were so placed as not to be offended by it."
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from On Horsemanship by Xenophon: the horse, he runs the risk of getting a knock in the face from the
animal's knee or hoof. When cleaning him he should turn his face in
the opposite direction to the horse, and planting himself well out of
the way of his leg, at an angle to his shoulder-blade, proceed to rub
him down. He will then escape all mischief, and he will be able to
clean the frog by folding back the hoof. Let him clean the hind-legs
in the same way.
The man who has to do with the horse should know, with regard to this
and all other necessary operations, that he ought to approach as
little as possible from the head or the tail to perform them; for if
the horse attempt to show vice he is master of the man in front and
On Horsemanship |
The third excerpt represents the future or something you must embrace, and is drawn from War and the Future by H. G. Wells: I. RUINS
1
If I had to present some particular scene as typical of the
peculiar vileness and mischief wrought by this modern warfare
that Germany has elaborated and thrust upon the world, I do not
think I should choose as my instance any of those great
architectural wrecks that seem most to impress contemporary
writers. I have seen the injuries and ruins of the cathedrals at
Arras and Soissons and the wreckage of the great church at Saint
Eloi, I have visited the Hotel de Ville at Arras and seen
photographs of the present state of the Cloth Hall at Ypres--a
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